Schinz, H. R.Abbildungen aus der Naturgeschichte mit Text von Dr. H. R. Schinz. - Zürich, Friedrich Schulthess, [1824-1828]. Folio (28.1 x 40.7 cm). Title page, 104 pp. [1-20, 27-112, but text complete], 41 [12; 8; 9; 12] lithographed plates, all finely hand-coloured except plates I-II of the plants, which are plain as published. Original blind-tooled green cloth with gilt title on the front board.= The rare first edition of this early and comprehensive work on natural history by the Swiss naturalist Heinrich Rudolf Schinz (1777-1862). It consists of four parts, of which the plate-numbering starts anew: mammals (12 plates); birds (eight plates), reptiles, fish, and invertebrates including insects and molluscs (9 plates), and plants (12 plates). The text page numbering is consecutive. This work is not mentioned in the Cat. BM(NH), and neither by Casey Wood. Text occasionally spotted, especially in the margins; plates clean. A very good to fine copy. Nissen ZBI, 3669. [Attributes: First Edition; Hard Cover]

BAER, Karl Ernst vonVorlesungen über Anthropologie zum Selbstunterricht [with] Kupfertafeln nebst Erklärung derselben zu den Vorlesungen über Anthropologie. Königsberg: Gebrüder Bornträger, 1824. - First edition of Baer's lectures on anthropology, complete with the seldom-found book of plates. Karl Ernst von Baer 1792-1876, Estonian biologist, anthropologist, naturalist and geographer, was a professor at Würzburg and Königsberg and from 1834 at St. Petersburg. Considered a founder of modern embryology, his studies were used by Darwin in developing his theory of the origin of species. &#145;Von Baer also internationalized physical anthropology. In 1861, he called a meeting in Gottingen, where Blumenbach's collection was kept, to standardize the method of skull measurements. Standardization was not agreed upon, but the meeting was the beginning of the German Anthropological Society, and also of the German Archiv fur Anthropologie, which did not always remain everybody's favorite journal. Von Baer adopted Blumenbach's classification of races based on skull measurements; he thought all recent culture to be Germanic, hardly an anthropological judgment, but he did not find races physically superior one to the other. Eventually, he mellowed with respect to his feelings on the races of man, and came to believe that they were all derived from a single stock, and he felt that their differences in character were determined by both inherited drives and aptitudes and also by their external environment.&#146; (Jane M. Oppenheimer, 'Science and Nationality: The Case of Karl Ernst von Baer', Proceedings of the American Philosophical Society, Vol. 134, No. 2, 1990, pp. 75-82). PHYSICAL DESCRIPTION: 2 volumes, 8vo, xxxvi, 520, [2] pp. and folio 12 pp. with the 11 plates of which 2 coloured, contemporary marbled boards, first volume with paper spine label and worn at edges, plate volume in contemporary half leather with two small blemishes on spine, browned and spotted, still a decent set. [Attributes: Hard Cover]

Norie, J[ohn] W[illiam].The New Mediterranean Pilot; containing Sailing Directions for the Coast of Spain, from Cadiz to the Strait of Gibraltar; also instructions for navigating the various coasts, islands, bays, and harbours in the Mediterranean Seam the Adriatic, or Gulf of Venice, Archipelago and Black Sea [...]. Second edition. London, J. W. Norie, 1824. 1824. 8vo. (4), 168 pp. Contemp. blue wrappers with original printed cover label. Second edition; rare: not in Copac or OCLC. The first edition appeared in 1817. Also includes the coasts of Syria, Egypt, and North Africa (Tripoli, Tunis, Algiers). John William Norie (1772-1843) was one of the most important hydrographic publishers of his time. - Some dog-earing, but still a good copy. OCLC 851876144.

CHAMPOLLION, Jean-François.Lettres à Mr le Duc de Blacas d'Aulps, [.] Relatives au Musée Royal Egyptien de Turin. Première lettre: monuments historiques [- Seconde lettre: suite des monuments historiques, - Planches]. Firmin Didot père et fils Treüttel et Wurz Paris -6 1824 - Two volumes 8vo and one 4to. Half-title, title, 109 pp. and III plates with hieroglyphs printed in orange on china paper laid; half-title, title, 167 pp.; atlas volume with plates IV-XVI with pl. VIIIbis, pl. XVI in colour. Original printed wrappers, vol. 2 in plain wrappers as published, plates loose in atlas vol.; atlas with spine almost fully split. Important and uncommon work in Champollion's career, "the first attempt [together with his Précis du système hiéroglyphique des anciens Egyptiens, published the same year] to integrate Egyptian art with what was now a confident understanding of the complexities of the forms and structures of Egyptian writing" (Buhe). A fine example of the first edition, in original wrappers. Helped by his friend and patron, the Duke of Blacas, Champollion could at last travel to Italy to inspect primary sources directly, before going to Egypt four years later. In Turin he analysed the Drovetti collection, freshly acquired by King Charles Felix - an amazing collection, which Blacas wanted France to buy first. Champollion discovered among the thousand pieces what is now known as the Turin Royal Canon, the most extensive list available of kings compiled by the Egyptians, and the basis for most chronology before the reign of Ramesses II. The Lettres contain the first mention and publication of this major papyrus, and became therefore an important work on Egyptian dynasties. More than 55 pp. are dedicated to a "Notice chronologique des dynasties égyptiennes de Manéthon", written by Champollion's brother. "It was in Turin that Champollion was confronted for the first time with a diverse set of Egyptian statues, vessels, sarcophagi, and papyri; not only could he now perform comparisons of like objects from vastly different dynasties, but he could also begin the process of analyzing each object's inscriptions and evaluating them against his developing chronology of ancient Egyptian pharaohs. These letters reveal Champollion's excitement and simultaneously register his realization of the wholly inadequate state of extant theories on Egyptian history and art: "it is only in the Royal Museum of Turin, amidst this mass of remains from an ancient civilization, that the history of Egyptian art seemed to me to remain entirely still to be written."[11] Champollion's Lettres à M. le duc de Blacas reads as a descriptive assessment of the relative placement of the Egyptian objects he scrutinized on a temporal continuum, and the primarily empirical thrust of this analytic endeavor is underscored by a chronology that appears at the end of each letter and relates to the Egyptian objects Champollion treated therein." (Buhe) Pierre Louis Jean Casimir de Blacas d'Aulps, 1st Count, 1st Duke and finally 1st Prince of Blacas (1771-1839), was a friend and counsellor of Louis XVIII, as well as ambassador in Naples and Rome during the Bourbon Restoration. Charles X chose him to be one of his "premier gentilhommes de la chambre". During his administration, he supported Champollion and created the "Musée Egyptien" within the Louvre. In his lifetime, Blacas amassed a rich antiquities collection that Joseph Toussaint Reinaud described in part under the title Description des monuments musulmans du cabinet du duc de Blacas in 1828. In 1866, his descendants sold most of his collection to the British Museum, where it is still today. Elizabeth Buhe, "Sculpted Glyphs: Egypt and the Musée Charles X", Nineteenth-Century Art Worldwide, Vol. 13, Issue 1, Spring 2014; Brunet I, 1780; Hilmy, I, 127; not in Blackmer. [Attributes: First Edition; Soft Cover]

REDOUTÉ, Pierre-Joseph (1759-1840)Rosa parvi-flora / Rosier à petites fleurs [Double Pasture Rose] Paris: Firmin Didot, 1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time.Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat.The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours.This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates.Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French89; Stafleu & Cowan TL2 8747.

Tieck, Ludwig, German poet, translator, editor, and novelist (1773-1853).6 autograph letters signed ("L. Tieck"). Dresden, 1824. 1824. 4to. Altogether 9 pp. on 11 ff. Each with autogr. address. One enclosure (s. b.). Comprehensive correspondence with Pius Alexander Wolff (1782-1828), an actor at the court theatre at Berlin, who had previously resided a few weeks in Dresden, where he made the acquaintance of Tieck, Bottiger and Carl Maria von Weber, which inspired him to move to the court theatre at Dresden. Together with its director, Wolfgang Frh. von Lüttichau, Ludwig Tieck, who stood in the center of literary life in Dresden then, tried to convince Wolff to come to Dresden. - But although Wolff was finally willing to move to Dresden together with his wife, the actress Amalie Wolff-Malcomi, the Prussian king denied Wolff's dismissal. - The letters are dating in particular: I) 30. IX. - II) 6. X. - III) 8. XI. - IV) 15. XI. - V) 2. XII. - VI) 16. XII. - Numbered in coloured pencil; address panel mostly with small clipping section from removing seal, otherwise in fine condition.

JAMES BOLTONHarmonia Ruralis; or, an Essay Towards a Natural History of British Song Birds. W.T. Gilling, 1824.
2 volumes. 4to. pp. [4], xxiv, 66: 96; 81 hand coloured plates.
Original publisher's half sheep with gilt decorated spine and original printed paper labels to the upper covers [Price five guineas]. Covers a little worn and small piece lacking from the head of the spine of Volume 2. Internally clean and fresh with good margins.

PRICE Major DavidEssay towards the History of Arabia antecedent to the Birth of Mahommed arraged from the Tarikh Tebry and other Authentic Sources. 1824 - First edition. 4to. Modern half calf over marbled boards, interior somewhat browned, otherwise very good. xvi, 248pp. London, for the author, Price's essay traces the history of Arabia from the earliest records to the appearance of Mahommed in the sixth century. The author gathered his information from number of remarkable manuscripts, including The Tarikh (or Chronicle of Abi Gaffer Mahommed), The Rouzut-us-Suffa of Mirkhoud, and the Kholauset-ul-akhbaur of Khoudemir. COPAC locates 7 holdings in the UK. [Attributes: First Edition; Hard Cover]

1824 - Manuscript - Victualling - FranceFrench Royal Frigate - "Amphitrite" Brest, December 1824 - 1 January 1825. Signed manuscript chart which records and tallies the consumption of supplies used by French royal frigate Amphritite, specifically for maintenance, repair, and sea battle. Text is in French. Folio. Single leaf laid watermarked paper made by D & C Blauw, measuring 51,5 x 40 cm. Signed in the original by Lieutenant C. Laplace. A most uncommon mariner's log.
This French frigate known as L'Amphitrite sailed a dangerous route between Île Bourbon (now Réunion), India, and France, transporting settlers, slaves, as well as cargo of Zanzibar cloves, coffee, and sugar. [Slavery would be abolished in Réunion 23 years later, on 20th December 1848, after which indentured workers were brought from South India, among other regions.]
This chart, penned onboard the French frigate Amphitrite by an astute marine, provides unique insight into preparation for life at sea, specifically in regards to the maintenance and mechanical operations of sorts. The log itemizes supplies used for the operation and maintenance of the vessel in the month of December 1824 and surely proved valuable victualling supplies upon arrival at the vessel's next port. It is neatly organized to show materials used by each of the mariners in charge of a specific function of the ship, be it the sailmaker, the shipwright, the blacksmith or coxswain.
For example, the "maître de charpentier" or shipwright uses oak planks and several types of nails, the "capitaine d'armes" or coxswain uses powder, lead and linens, the "maître de armurier" or gunsmith uses iron wire, oil, nail heads, the "maître des voiliers" or sailmaker uses a great deal of canvas and thread, and the "chef de timonerie" or wheelhouse master also makes use of canvas and drapery. The "maître forgeron" or blacksmith has not consumed any supplies. The list of items attributed to the "maître d'équipage" or boatswain (warrant officer on a warship), however, is the most substantial and includes such things as lead cork, painting oil, fishing line, 14 thicknesses of rope for masts, sails and such, heavy cable, candlesticks, 126,000 furs, 12 mallets, sewing thread, and other articles needed for rigging. An annotation to the right margin, signed by the lieutenant in charge of the work, C. Laplace, and dated 1 January 1825, indicates that the vessel was painted; her colours being black, white and green.
Only a few months after this document was made, she was attacked by pirates. Off the coast of Liberia, at 4 degrees north latitude and 19 degrees west longitude, on 22 April 1825, Amphritrite was pillaged by the crew of a Colombian corsair, who took sugar, coffee, cloves, victuals, linens, beds, trunks, a large boat, and the captain's watch. They also took hostage the ship's apprentice.
Historical accounts contemporary to this document record of some passengers onboard Amphitrite either departing from, or arriving at Île Bourbon (Réunion), including the following examples:
L'Amphitrite - 01 September 1820 - from Saint-Denis on Île Bourbon to Nantes in France
•Achille Lefèvre - Aide de camp du Gouverneur [Governor's Aide-de-camp]
Note: «passager aux frais du Roi [King paid passenger's fare]»
•Antoine Puissant - Négociant [Trader/Merchant]
Note: «ayant avec lui le nommé Denis Moius, Indien [accompanied by an Indian man]»
•François Quesnel - Médecin [Physician]
L'Amphitrite - 28 November 1821 - from Saint-Denis on Île Bourbon to Nantes in France
•Esthère - «Femme de couleur avec une domestique esclave nommée Fanore
[Woman of colour with a domestic slave called Fanore»
•Amanda - [No further detail]
L'Amphitrite - 22 December 1822 - from St Denis on Île Bourbon to Mananjary in Madagascar
•Arnoux - [No further detail]
L'Amphitrite - 25 January 1823 - from St Denis on Île Bourbon to Calcutta in India
•Eléonard Adam - Habitant [Resident]
L'Amphitrite - 07 January 1826 - from St Denis on Île Bourbon to Pondicherry in India
•Ernest Bartro - Négociant [Trader/Merchant]
•Paul Blin - Commis négociant - [Committed Trader/Merchant]
•Paul Donat - Négociant [Trader/Merchant]
•Pierre Faro - «Coiffeur Indien» [Indian Hairstylist]
The Annales Maritime et Coloniales vol. 21 and 25 record a frigate Amphitrite on a voyage from Bourbon to the French colonial settlement of Pondichéry (Puducherry) in September 1816, and encountering winds in the region of the Seychelles in April 1817.
A total of 1376 French naval ships and frigates were launched between 1661 and 1815, with 969 different names. By tradition ships-of-the-line were given masculine names and frigates feminine ones. Unsurprisingly, names relating to the sea constituted a continuous theme; the first French ship to bear the name Océan was launched in 1756. Under Louis XIV ships were readily given names evoking their qualities and handling (Adroit, Ardent,Excellent, Léger, Prompt). These disappeared for ships of the line in the Regency but became common for frigates, reflecting their new prominence in naval tactics. Swiftness was evoked by names associated with flight (Oiseau, Hirondelle, Aigrette). Mythological names, with marine associations accounted for 145 vessels including Neptune, Néréide, Nymphe, Amphitrite, Protée, Thétis, Jason and Argonaute. No less than six different vessels bore the name Trident. Another category related to the heavens (Lune, Etoile, Vénus, Astrée, Pléide) and the winds (Aquilon, Borée, Eole, Zéphir). Marine hazards could be evoked directly (Ecueil, Orage, Tourbillon) or by mythological reference (Sirène, Méduse); so too, names associated with chance and magic, whether the vagaries of weather or the fortunes of war (Destin, Fortune, Hasard, Circé, Médée, Magicienne, Fée).
Celebrated Dutch papermakers Dirk and Cornelis Blauw operated several mills, including De Herder (The Shepherd) and De Ijver (The Diligence) at Zaandjk, and De Oude Blauw (The Old Blue) at Wormeveer. However, the countermark "D & C BLAUW" has been copied and used by many different French papermakers, mainly in the 18th century and also in the 19th.
En 1821, le baron Albin Reine Roussin (1781-1854) fut nommé au commandement de la frégate l'Amazone et de la station navale sur les côtes de l'Amérique méridionale. Pendant cette campagne, le capitaine Roussin fut promu au grade de contre-amiral (17 août 1822).
Rentré en France le 31 décembre 1822, le rear-admiral Roussin arborait de nouveau son pavillon sur la frégate l'Amphitrite, le 6 juillet 1823. Il ne réclamait pas de repos; on trouvait tout naturel de ne pas lui en accorder. Sur l'Amphitrite et sur l'Amazone, qui lui fut bientôt rendue, coursier fidèle dont il connaissait les allures, Roussin prit part aux grandes manoeuvres de l'escadre d'évolutions rassemblée sous les ordres d'un illustre maître, le vice-amiral baron Duperré. La campagne fut courte: commencée le 6 juillet, elle se termina le 27 septembre [1823].
Au mois de juin 1824, il prit, à Brest, le commandement d'une division de l'escadre du vice-amiral Duperré, qui manoeuvra pendant trois mois dans l'océan et la Méditerranée.
Le vaisseau le Trident, commandé par M. Morice, capitaine de vaisseau; les frégates l'Amphitrite, la Vestale, la Nymphe, l'Armide, et la goélette la Fauvette, sous les ordres de MM. le comte d'Oysonville, Pelleport, Cuvillier, Villaret de Joyeuse, capitaines de vaisseau, et Mauclerc, lieutenant de vaisseau, sont partis de Brest le 16 juillet 1824. M. le vice-amiral baron Duperré a son pavillon à bord du Trident, et celui du contre-amiral baron Roussin flotte à bord de l'Amphitrite. Ces bâtiments se rendent devant Cadix.

CRUIKSHANK, George, illustrator | ROSCOE, Thomas |Tales of Humour, Gallantry, & Romance, 1824. first edition. George Cruikshank's Own CopySigned and Dated by Him on the Title-PageCRUIKSHANK, George, illustrator. [ROSCOE, Thomas]. [Italian Tales]. Tales of Humour, Gallantry, & Romance, Selected and Translated from the Italian. With Sixteen Illustrative Drawings by George Cruikshank. London: Printed for Charles Baldwyn, 1824. George Cruikshank's copy, signed "George Cruikshank 1824" at top of title-page.First edition, mixed issue. Octavo (7 7/8 x 4 7/8 inches; 199 x 123 mm.). viii, 253, [1, imprint], [8, advertisements] pp. Fifteen engraved plates and woodcut on title-page "The Pomegranate Seed". Publisher's quarter dark green canvas over red paper boards, spine with original printed paper label (worn), edges uncut. Front joint worn but sound, inner hinges expertly strengthened. With the engraved bookplate of William Hartmann Woodin on front paste-down and ink signature on front free end-paper. An excellent copy chemised in a quarter blue morocco slipcase.A complicated collation. According to Cohn the first issue has a plate to the tale "The Dead Rider" at p. 58, and no woodcut on the title page. Our copy has the second issue title page with the woodcut "The Pomegranate Seed" but it also has the plate "The Dead Rider" facing page 62.According to Cohn the first issue has a misprint at p. 32, line 10, the word "creditor" being used in mistake for "debtor".Our copy has the fist issue "creditor"According to Cohn there are seventeen illustrations including the woodcut on the title-pageOur copy has sixteen illustrations including the woodcut on the title-page.Cohn, 444.

Achille-Louis FovilleObservations cliniques propres à éclairer certaines questions relatives à l'aliénation mentale : thèse de doctorat de médecine Paris, Didot 1824 - In-4° broché, cartonnage d'attente moderne souple, pièce de titre contrecollée, 19 pages. Thèse de doctorat de médecine du grand aliéniste qui dédie cette thèse à Esquirol, Ferrus, Pinel et Rostan. PERFECT COPY LIKE NEW - - -- Achille-Louis Foville (6 August 1799 - 22 June 1878) was a French neurologist and psychiatrist. He produced the first description of the terminal stria - Foville was born in Pontoise, France and received his medical doctorate in 1824, after studying medicine under Léon Louis Rostan and Jean Étienne Dominique Esquirol at Pitié-Salpêtrière Hospital. His medical thesis argued mental illness may be curable, discussing some treatments of the day and their apparent effectiveness. The next year, he was made the medical superintendent of the Saint-Yon asylum in Rouen. During his time there he published several papers on disorders of the nervous system which were well received. His son Achille-Louis-François Foville was born in 1831.[1] He remained at the asylum until 1833, when ill health forced his resignation. Foville spent time travelling abroad, to Africa and America. He returned to France, settling in Paris. After the death of his former teacher Esquirol in 1840, Foville was made a professor at Charenton. Until the appointment Thomas Hodgkin had been attempting to open a facility for the treatment of mental illnesses to compete with the York Retreat. With Foville's appointment to Charenton, he was no longer willing to relocate to England, and Hodgkin dropped the project, feeling no other doctors were suitable to run the facility. The French Revolution of 1848 cost him his job at Charenton, and Foville took up private practice in Paris. He practised medicine in Paris, treating mental disorders, until 1868, when he retired. He moved to Toulouse after his retirement, where he died in 1878.[3] Works[edit] Illustration from Traité complet de l'anatomie In 1844 Foville published Traité complet de l'anatomie, de la physiologie et de la pathologie du système nerveux cérébro-spinal on the anatomy of the nervous system of the spinal cord, regarded as one of the best works on the subject prior to the invention of the microscope.[2] [Attributes: First Edition; Soft Cover]

REDOUTÉ, Pierre Joseph (1759-1840)Rosa Indica Fragrans from "Les Roses" Paris: L&#146;imprimerie de Firmin Didot, 1817 - 1824 - A MASTERPIECE STIPPLE ENGRAVING COLORED BY PIERRE-JOSEPH REDOUTE. 21 x 14 inches sheet, 31 x 24 inches framed. Fine stipple-engraved plate in colors. L&#146;imprimerie de Firmin Didot. Paris, 1817 - 1824. Annotation with title and description in French on lower half; legend below identifying P.J. Redouté as painter, Rémond as printer, and Langlois as engraver (fading consistent with age). The unequalled botanical artist Pierre-Joseph Redouté occupies a central position in the development of European flower painting. Dubbed the "Raphael of flowers," he produced over 2,100 published plates depicting more than 1,800 flower species over the course of his career, many of which had never been represented before. Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to Empress Josephine and her successor, Marie Louise. Despite many changes of regime in a turbulent epoch, he managed to work without interruption, a testament to his enduring appeal as an artist. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. The edges of the leaves and petals were dotted as well so as to achieve softness of form. Because the ink rested on the paper in miniscule dots, it did not obscure the "light" of the paper beneath the color. After this complex printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. The present stipple engraving comes from one of only five copies of the large folio edition of "Les Roses," and was hand colored by Redouté himself. "Les Rose" was a 3-volumed book of rose prints produced under the auspices of Marie-Caroline, Duchesse de Berry, daughter-in-law of King Charles X, and published in 30 installments between 1817 and 1824. Notable in the collection are flowers from the Malmaison chateau gardens of former Empress Josephine--who assiduously collected and cultivated rare and beautiful roses from all over Europe--as well as from other horticulturists and botanists around Paris at the time (Hinz, 9). The present work provides a true-to-life portraiture of a Tea Rose, or "Tea-scented China," so named because its fragrance evokes Chinese black tea. These repeat-flowering roses were introduced to France from Asia in the 19th century, and typically feature abundantly large blooms that unfurl in spirals and petals that roll back around the outer edges, leaving a single petal with pointed tip--the archetype for today&#146;s classic rose form. In the present composition, the pale pink flower floats gracefully in space, without background or setting. The regal simplicity of this composition allows the viewer to focus without distraction on the beauty and delicate complexity of the plant itself. The leaves, buds, and thorns of the flower are also rendered vividly and endowed with an air of great vigor and elegance. References: Petra-Andrea Hinz and Barbara Schulz, Pierre-Joseph Redouté: The Complete Plates (China: Taschen, 2007). Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.

WEBER, Carl Maria von 1786-1826Autograph letter signed "C M v Weber" to conductor Sir George Smart When a "veritable mania" for Der Freischütz swept London in 1824, Charles Kemble, manager of the Covent Garden Theatre, invited Weber to London to conduct the opera season and compose two new operas for Covent Garden. "Recognizing that his days were numbered and believing that the potential rewards offered by London would provide a measure of financial security for his family... Weber wrote to Kemble on 7 October to agree to compose an opera based on Wieland's romance Oberon and to go to London for three months in spring 1825... Weber received J.R. Planché's libretto for Oberon in three mailings between 30 December 1824 and 1 February 1825, by which time he had requested a postponement of the première until spring 1826... Weber left Dresden on 16 February 1826 to begin the long trip to London. On 25 February he arrived in Paris, where he spent a week making contacts with prominent musicians and poets, including Auber... Cherubini... [and] Rossini... Weber continued on 2 March, crossing the channel from Calais to Dover on 4 March and reaching London the next day. Staying at the home of George Smart in Great Portland Street, Weber completed the overture to Oberon, finished the music to Act 3, and composed two additional pieces specifically for the leading tenor, John Braham. During the month of rehearsals leading up to the première Weber somehow found the energy also to complete the piano score, conduct four Oratorio Concerts at Covent Garden, conduct at the Philharmonic Society, take part in two benefit concerts and perform in a number of aristocratic salons. The première of Oberon on 12 April 1826 was a great success, with lavish settings and spectacular scenic effects that impressed even Weber, and the opera remained popular throughout the season." Paul Corneilson, et al. in Grove Music Online. Weber died less than two months later, on June 5, 1826. The recipient of this letter was most likely the English conductor, organist and composer Sir George Smart (1776-1867), well-known for his interpretations of Handel's oratorios, and for introducing Mendelssohn's St. Paul to England. Smart was instrumental in negotiating Weber's 1826 visit to London, and who graciously hosted him there (Weber died in his home). His meticulous observations of the musical practices of his time rival those of his predecessor Charles Burney. W.H. Husk and Nicholas Temperley in Grove Music Online.. 1 page. Oblong octavo. Dated [London] March 16, 1826. In black ink. In English. Weber sends his correspondent, in all likelihood Sir George Smart, a pianoforte adaptation of the first act of his opera, Oberon."According to your payment, I have the honour to send you hereby the first act of Oberon, adapted for the pianoforte. The 2nd act is also ready, and you can have it in any moment."Slightly worn and soiled; creased at fold and slightly overall; pink tinge to upper portion of leaf; cut from a larger sheet; small round paper label of the Rawkins Collection laid down to upper left verso.

Jon WightMornings at Bow Street London - Charles Baldwyn, 1824 Book. Good. Hardcover. First edition.. Two volumes of humorous anecdotes regarding the goings-on at Bow Street Magistrates'Court. Great to see these together in the original publisher's binding. With forty six illustrations acrossthe two volumes, some vignettes and some plates, by George Cruikshank. Collated, complete. The illustrations are by the internationally popular illustrator and caricaturist, George Cruikshank. Cruikshank was the son of one of the leading caricaturists of the 1790's and began his own career as his father's apprentice. He illustrated many works by famous authors such as Dickens' Sketches by Boz and Oliver Twist. From the library of John Lewis, FSIA. Lewis was a tutor in typography at the Royal College of Art. He was also the founder of the Lion & Unicorn Press. The enterprise aimed to capture the sentiment of Richard Guyatt's inaugural lecture delivered at the Royal Society of Arts in 1950. To the second volume is a gift inscription from the author stating 'Richard Price Esq with the Author's compliments'. The first volume, Mornings at Bow Street is a selection of 'the most humorous and entertaining reports which have appeared in the morning herald'. Wight was a reporter for the Herald and due to the favour his column met he had a selection of his articles compiled to this book. Following the success of the first publication, a further title More Mornings at Bow Street was published in 1827. Both volumes are first editions, bound with half titles. Tothe start of volume I is bound thescarcepublisher's advertisements. Condition: In original quarter cloth publisher's bindings with paper spine labels. Externally, sound with slight rubbing, particularly to th head and tail os spines. Spine labels are discoloured to both volumes with a small loss to the spine label of volume I. Loss to spine of volume I at the head and tail. Bumping to the head and tail of volume II. Cloth to the spine of volume I is sunned. Handling marks to boards of both volumes. Both front and rear joints to volume I are tender. Front hinge to volume I is starting but firm with the rear hinge tender with cords showing. Prior owner's bookplate to front pastedown, John Lewis. Prior owner's signature to the recto of the front endpaper. Binding to volume I is tender to the first few gatherings and generally firmly bound to the rest. Volume II is firmly bound. Pages are bright with scattered spots throughout. Overall: GOOD..

KRUSENSTERN, Adam Johann von [KRUZENSHTERN].Atlas de L'Océan Pacifique [Hemisphere Austral]. Par ordre de Sa Majeste St. Petersbourg 1824 - Large folio (65.7 x 52 cm). Title, dedication to Alexander I, 15 maps including 6 double-page, and some containing smaller insets for a total of 36 charts, engraved by S. Froloff, all dated 1824 in cartouche, printed on thick paper, on guards; outer margin skilfully restored throughout, without affecting print, possibly without half-title and engraved list of plates, although these seem to be present only in copies gathering both parts (see Forbes) - these two leaves may well not have been included in copies published before 1827 and including only the present, first part. Recent maroon morocco over red cloth boards, spine in compartments, gilt lettering to second compartment, boards gilt ruled.u9j8-i "One of the most important Pacific atlases" (Forbes): the first edition in French of this detailed survey of the Southern Pacific, in its first issue dated 1824, before subsequent updates and with dedication to Alexander I. With a rare presentation inscription from Kruzenshtern to the victor of the battle of Navarino and future military governor of Kronstadt and Revel-Tallinn. The Dutch Admiral Count Login Hayden (Lodewijk Sigismund Vincent Gustaaf van Heiden, 1772&#150;1850) offered his services to Russia in the last year of Catherine the Great's reign, 1795. He was appointed Captain-Lieutenant at sea at only twenty-two, and successfully rose through the ranks. In 1826, Hayden was given command of the Russian fleet in the Mediterranean and a year later he was appointed commander of the Russian squadron in the Battle of Navarino against the Turks during the Greek War of Independence, which ended with the defeat of the Turko-Egyptian fleet and the destruction of the feared artillery at the fortress of Navarino. At the height of his career, much respected and decorated, he became Admiral in 1833 and was chosen by the Tsar to become military governor of Kronstadt and Reval. Like its Russian version published the same year, the first edition in French of this work is very rare. Lada-Mocarski, Ferguson and Phillips refer only to the later edition of 1827-35 (with dedication to the new Tsar, Nicholas I, and with 34 maps, including the Northern hemisphere, first published in Russian only in 1826 and in French in 1827). The first map is a general map of the Southern Pacific, showing discovery dates and including, in this particular copy, some supplementary contemporary handwritten information dated up to 1825. It covers the ocean from Borneo to Cape Horn, showing especially the whole of Australia, the Solomon islands, Polynesia and New Zealand, as well as the West coast of South America and the Galapagos islands. It is dedicated to Captain Horsburgh, "Hydrographe de la Compagnie Britannique des Indes". Interestingly, the other maps are not dedicated, except the map of the Coral sea, dedicated to Captain Flinders (post-mortem?), and the map of the Solomon islands, to the French Rear Admiral de Rossel. The charts are drawn on a large, detailed scale, and represent the first systematic attempt to chart the islands of the Pacific - including a map of the whole New Zealand and most of the Eastern coast of Australia, with a detailed plan of Sydney's harbour. They are based on Kruzenshtern's own observations during the first Russian circumnavigation and incorporate findings of subsequent voyages to the Pacific. The atlas "may be taken as an example of the extraordinary labour and perseverance of the author, as well as his superior talents as a navigator and astronomer. None of his statements have ever been called into question; while the discoveries and nautical corrections are universally acknowledged to have been of infinite service to navigation" (Dawson, Memoirs of Hydrography, Eastbourne, 1885). The maps are: 1. Carte Générale de l'océan Pacifique Hemisphere Austral. 1824. [Double-page] 2. Carte de la Nouvelle Guinée et du détroit de Torrès. - Plan du port Dory. 1824. [Double-page] 3. Carte de la mer du Corail. 1824. [Double-page; with an impor [Attributes: First Edition; Hard Cover]

[Arkansas]ACTS, PASSED BY THE GENERAL ASSEMBLY OF THE TERRITORY OF ARKANSAS, AT THE SESSION IN OCTOBER, 1823 Little Rock: William E. Woodruff, 1824. 58,[2]pp. Gathered signatures, stitched. Minor browning. Near fine. One of the earliest Arkansas imprints and an important record of the territory's early administration. Includes acts controlling taxes on military bounties and the suppression of liquor sales to soldiers. Printed by the official territorial printer, William E. Woodruff. Rare. OCLC locates fewer than ten copies. ALLEN 4. COLE, p.115.